IN7OMM.COM
Search page
Deutsch | Language
7OMM e-News
Rumour Mill
Contact | Volunteers

WHAT'S ON IN 7OMM?
Todd-AO Festival
KRRR! 70mm Seminar
Widescreen Weekend
7OMM Festival
 

7OMM FILM
"Flying Clipper"
"The Hateful Eight"
"The Master"
"Oklahoma!"
"Scent of Mystery"
"2OO1"

IN LARGE FORMAT
Todd-AO
Ultra Panavision 70
Super Panavision 70
Dimension 150
DEFA 70
Sovscope 70
Technirama
IMAX
Showscan
Cinerama
Cinemiracle
70mm Blow-up

NEWS
2016 | 2015 | 2014
2013 | 2012 | 2011
2010 | 2009 | 2008
2007 | 2006 | 2005
2004 | 2003 | 2002

LIBRARY
Interview & People
Cinemas
DP70 / Norelco AAII
70mm Projectors
Rama Galore
Cinerama Remaster
70mm Engagements
SENSURROUND
Stories
Remember

THE 7OMM NEWSLETTER
2005 | 2004 | 2002
2001 | 2000 | 1999
1998 | 1997 | 1996
1995 | 1994 | PDF
 

in70mm.com Mission:
• To record the history of the large format movies and the 70mm cinemas as remembered by the people who worked with the films. Both during making and during running the films in projection rooms and as the audience, looking at the curved screen.
in70mm.com, a unique internet based magazine, with articles about 70mm cinemas, 70mm people, 70mm films, 70mm sound, 70mm film credits, 70mm history and 70mm technology. Readers and fans of 70mm are always welcome to contribute.

Disclaimer | Updates
Support us
Testimonials
Table of Content
 

eXTReMe Tracker
Extracts and longer parts of in70mm.com may be reprinted with the written permission from the editor.
Copyright © 1800 - 2070. All rights reserved.

Visit biografmuseet.dk about Danish cinemas

 


Motion pictures photographed in Ultra Panavision 70

"On "Battle of the Bulge" I did not have the choice of the system, but one of the things that helped me decide me to make this movie was the chance to show tanks looking like monsters, coming out of the ground and towering over the puny, small "human insects". Then, of course, I had to show how the human beings actually win the battle. That was my concept and I could only achieve it on a system like Ultra Panavision 70".

Ken Annakin, The 70mm Newsletter, July 2001


The Importance of Panavision
By Adriaan Bijl
In the fall of 1953, Panavision started, as a company which supplied theaters with anamorphic projection attachments. By the time this market was saturated, the company had established itself in the field of motion picture equipment by developing and marketing other products like printer and photography lenses, and cameras.
"Tak" Miyagishima, Panavision Passed Away
By Bill Hogan

For more than half a century starting in 1954 Tak was one of the most esteemed design engineers in the motion picture industry.
The MGM PANAVISION Enlarged-film System
By
Douglas Shearer
To make our system universally adaptable a 65mm negative has been chosen having standard perforations with the incorporation of a mild anamorphic squeeze in the taking lens system.

“Khartoum”: The Roadshow Engagements
By Mike Coate
The following is a reference/historical list of the Cinerama-branded 70mm roadshow engagements of “Khartoum” held in North America. These presentations utilized special rectified prints derived from 65mm Ultra Panavision photography and projected onto large, deeply curved screens. The audio was six-track stereophonic. The seating was reserved at advanced prices and with an average of ten scheduled screenings per week. The cinemas in which these special presentations played also sold souvenir programs.

Go to The Widest Story Ever Told
The Widest Story Ever Told
Von Christian Appelt
Am 12. Oktober 1956 präsentierte MGM Camera 65 im Rahmen der SMPTE-Konferenz in einer Demonstrationsvorführung. Douglas Shearer und Robert Gottschalk von Panavision stellten die Flexibilität des Formats heraus. “Vom Standpunkt des Produzenten aus ist die Wahlmöglichkeit des endgültigen Verleihformats einer der Vorzüge dieses 65-mm-Verfahrens”


• Go to Quentin Tarantino's "The Hateful Eight"

Panavision and the Resurrecting of Dinosaur Technology
By Tyler Purcell
After seeing the 70mm test footage, there was a rousing applause. The next thing we saw was a DCP version of the material and it really shows how proper film projection truly trumps digital. The blacks were mushy and undefined, the highlights were clearly peaking and the whole image looked flat. All of that beautiful depth seen in the film projection was lost. We sadly realized this format, developed in the 50's, is still better then all the money we've thrown at conventional digital projection.
"An Homage To D W Griffith" A short Film In Ultra Panavision 70
By Dan Sherlock
The last Ultra Panavision 70 film that was released was reportedly KHARTOUM in 1966. As it turns out, there was one more Ultra Panavision 70 short subject that was made over 20 years later. In 1988, the equipment and lenses were used for a special short subject that was also the only time the format used a speed of 30 frames per second rather than the normal 24 frames per second format.
Ultra Panavision 70 - almost like a real story
By Rick Mitchell
Due to a financial investment from MGM, the new format was initially known as "MGM Camera 65". Because, one of its design considerations was to yield higher quality 35mm anamorphic prints, directors, cinematographers, and camera operators were instructed to keep important action within the safe action area of 2.35:1 anamorphic 35mm prints with an optical track.
Ultra Panavision 70, Early lenses
By Tak Miyagishima
These earlier lenses were all engraved as having a power of 1.33X but were never used having that power. We started designing these lenses with the power of 1.33X and had to alter the power but didn’t change the engraving.

• Go to Ultra Panavision 70 - Adjustment and modifications

"Khartoum" in Ultra Panavision 70
By Rick Mitchell
A new 70mm print, of one of only nine films shot in this widest of formats, was shown at the American Cinematheque's Egyptian Theater 18. May 2008
Camera 65 and the Metro Bourke Street Bigger than…
By Eric White
The Bourke Street Metro was a two-gallery theatre, like the Collins Street Athenaeum, and as was the case there, the projection rake was quite steep.
65/70mm Rules
By Rick Mitchell
Last night at a special program at UCLA's Bridges Theater devoted to unusual film picture and sound formats, two examples of 65mm origination and 70mm presentation were shown.
Ultra Panavision 70 Lens - Adjustment and lens modifications
Facts about the new "Mad World" 70mm print
To Split or not to Split ... That is the Hollywood Question!

• Go to The Hateful Eight

• Go to Ken Annakin. Director in Ultra Panavision 70


• Go to Motion pictures in Super Panavision 70
 
 

Title

Released

Cinema

Notes

Raintree County
 
02.10.1957
 
Brown, Louisville, USA
 
MGM Camera 65. Released only in 35mm. Cameras from the 1930s and re-designed by MGM Camera Dept.
 
Ben Hur
 
18.11.1959
 
State, NYC, USA
 
MGM Camera 65
 
Mutiny on the Bounty
 
08.11.1962
 
State, New York, USA
 
It's a Mad, Mad, Mad, Mad World
 
07.11.1963
 
Cinerama Dome, Los Angeles, USA
 
Premiered "In Cinerama"
 
The Fall of the Roman Empire
 
24.03.1964
 
Astoria, London, England
 
The Greatest Story Ever Told
 
15.02.1965
 
Warner, NYC, USA
 
Premiered "In Cinerama"
 
The Hallelujah Trail
 
23.06.1965
 
Warner, LA, USA
 
Premiered "In Cinerama"
 
Battle of the Bulge
 
16.12.1965
 
Cinerama Dome, Los Angeles, USA
 
Premiered "In Cinerama"
 
Khartoum
 
09.06.1966
 
Casino, London, England
 
Premiered "In Cinerama"
 
The Hateful Eight
 
07.12.2015

 
Cinerama Dome, Los Angeles, USA

7OMM Roadshow Release 25.12.2015

 
7OMM Theatre List

Production Notes

FotoKem made 120 7OMM prints from 1 inter negative

 
       

Miscellaneous

     
How The West Was Won

(Process shots and certain sequences)
 
02.11.1962
 
Casino, London, England
 
Parts only, rest in 3-strip Cinerama
 
An Homage To D. W. Griffith
(Short  film)

 
27.02.1989
 
Tokyo, Nippon Budokan
 
 
       

Ultra Panavision 70 lenses also used for:

     
Star Wars Anthology: Rogue One
 
16.12.2016
 
- Shot digitally. Unconfirmed
 
       
Assistant contributors on some large format lists includes Michael Coate, David Coles, Jeffrey L. Johnson, Scott Marshall, Tak Miagishima, Rick Mitchell, Dan Scherlock, Richard Vetter and Ingolf Vonau.

Based on material found in many sources, including trade papers, Variety, Wide Screen Movies (Robert E. Carr & R. Michael Hayes) and Four Aspects of The Film (James L Limbacher)
 

Online: 02-06-1999. Updated: 22-12-2016